In Paris With You

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You might also like: GCSE Poetry Lesson to Support Teaching On 'I Wouldn't Thank You for a Valentine' by Liz Lochhead Language is a powerful thing. I can't even articulate how wonderful this love story portrayed fallible human nature stumbling over itself to express our weak desires, but this book does exactly that. Absolutely adorable!

Usually in a romance you think you would like the actual relationship. Actually I didn't. Eugene is the worst character ever. He's not fun he's just so bleh it makes me sad. This could've been a great book if not for the problematic issues (bad handling of suicide, fatphobia, and slut-shaming). The redeeming aspects of this book were the setting, format, and ending. The premise was good but sadly, it didn't turn out quite as great as I've expected. Thanks to NetGalley and St. Martin's Press for giving me a copy in exchange for an honest review. Even though the book starts in the present, a good half of the book occurs 10 years before. The novel is all about first teenage love and speaks to everyone who has ever been in love. Ten years later Eugene and Tatiana meet again, and suddenly Eugene understands what he lost so many years ago and what might slip again through his fingers if he doesn't grip this second chance with both hands.

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Word play is other technique for humour, speaker refers to weariness at having to talk about failed relationship as 'I'm one fo your talking wounded', pun on 'walking wounded' used in war context, and rhymed with 'marooded', partly nonsense word used to maintain rhyme scheme. Fun and inventive tone. I won an arc in a Goodreads Giveaway. A big thank you to Wednesday Books! All thoughts and opinions are my own. on one hand, its an interesting story ft. 'the-love-that-got-away' slash 'second-chance-romance' and hear me out, i sorta, kinda love and adore both those tropes but all i'm feeling right now is :/

Firstly, I absolutely love the book cover. I think it is eye-catching and beautiful! Accompanied with the title they just match! Something I particularly enjoyed: Tatiana seemed ill imagining spending a dull life that her sister Olga had adopted with her husband, Anthony. She wanted a life of wonder and marvel. And that's okay. Kids are not in the cards for everyone. She wants a different life, something non-monotonous that differs from the regular and boring kid-raising lifestyle. Life can be more than just doing the same thing everyone else does. And this book is a great representation about making new changes and celebrating the things you love without coming to a standstill and putting your life on hold. so it's a good thing i'm an unobservant buffoon i guess??? because i really (really, REALLY) loved the writing of this book. it was, like. my favorite part. These engaging, varied, and informative lessons have been designed to help students gain a valuable understanding of the content, language, and structure features of a range of Love and Relationships poems. Each of the poems are widely studied, with some being from the Literary Heritage bank, and most being fixtures in examination board anthologies:

In Paris with You was not my first experience in terms of “poetry fiction”, but I quite enjoyed the author’s style. More often than not, it reminded me of a narrative technique I had fallen in love with at the age of 16.In Paris with You is recounted by a (thenarrator) whose relationship has just ended and who is now in Paris with someone else (“I’m on the rebound”). This suggests a long-term relationship has ended and the speaker is currently enjoying a less serious liaison. The narrator doesn’t want to examine the aftermath of the serious relationship: he doesn’t want to talk things over or even visit galleries or landmarks; he just wants to enjoy the moment rather than thinking of the future or the past. Structure

If you love poetry. If you love something unique. lIf you enjoy reading in verses. This book is for you!! Understanding the poem, with a particular emphasis upon the content, language, and structural features;The third and fourth stanzas are very interesting. The speaker asks if it is possible to miss the tour of Paris including the most famous landmarks (Notre Dame etc) and stay in the 'sleazy hotel room' instead. One reading would suggest that this is a wonderfully romantic gesture with the lovers staying in bed rather than going on a sightseeing tour. However, the word 'sleazy' bothers me as I'm not convinced that the speaker is being ironic and making a joke about staying bed for more "sleazy" purposes. The two stanzas flow into one another using enjambment to show that this thought process is taking place in the same moment. The poet establishes the setting of a 'sleazy' hotel room which contrasts nicely with what a reader would usually expect of a love poem taking place in Paris. My impression is that the poet and the speaker are trying to be purposefully ambiguous (no obvious meaning). The scene it meant to be a little bit sleazy and a little bit romantic, which befits the idea of a person throwing themselves into a new relationship when the wounds of the last one have not yet healed. These people are only just getting to know each other and 'learn' about each other and what they are. The word 'what' suggests that the speaker isn't sure what is going on and what his or her role in all this actually is. The line 'doing this and that' is an awkward phrase that refers to them having sex, but why dress it in such an awkward way? Does this imply that the speaker is a little ashamed by what's going on, or is it just a playful joke about having some naughty sex in a sleazy hotel room in Paris? It isn't clear and it isn't meant to be, after all love, passion and even brief encounters are exciting yet extremely complex and confusing experiences. In other words, the speaker is comparing where he is now, with where he was before when he was full of trust and love! He no longer wishes to partake of Paris-or will he change his mind? And if he does change what will make him change? Besides that, this book taught me a lot about maturity and love. Being mature is part of growing up, as we were young we tend to believe what we wanted to. However, believing what is good and pure is important regardless of our age. Moreover, love is what makes us stronger and not weaker. Appreciate the person that loves you. bottom line: if you like Romance; Paris; Poetry; Emotions; Being Emotional; Men Who Will Not Leave Women Alone In Spite Of The Very Polite And Clear Requests Of Those Women - read this. or you could be like me and not like any of those things but apparently have very poor reading comprehension when it comes to giveaway entries but it'll still end up okay. The humour and risqué subject matter shouldn’t detract in any way from the cleverness of this poem. It is more skilful and complex than it first appears.

One way in which the poets present their ideas about the pain of love is through their use of imagery with their poems. For example, they both use metaphors about being ‘wounded’. Fenton’s line ‘I’m one of your talking wounded’ adopts a pun which relates to the expression ‘walking wounded’, used by soldiers to imply resilience. He feels as though love has previously ‘wounded’ him, if not actually finished him off. Similarly, continuing with the theme of violence, Duffy uses an extended metaphor throughout the whole poem which presents the break-up of her relationship as a gunfight in a Western movie. Lexis such as ‘trigger’, ‘silver bullets’, ‘wide of the mark’ and ‘blast me’ presents the effect of breaking up as wounding her physically.

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It is notable that the narrator refers to doing “this and that” which one would assume is a euphemism for sex but then says to “what and whom” Is he referring to himself as a what? Or rather his partner? Is he de-humanizing someone? Perhaps this is down to an element of guilt? There is further evidence to support this self-discovery as the narrator adds “learning what I am” This once again is an interesting choice of words. The narrator doesn’t want to know who they are, but what they are. I was born in Paris in 1989 and though I started to read children’s books pretty early, I somehow never stopped. As a result, I’ve become a writer, reader and student of children’s literature. I’ve now been living and studying in Cambridge (UK) for seven years and have become a doctor. Well, not the type that saves people’s lives. The type that scribbles ‘PhD’ after their name and rambles on about beauty, truth and the value of (all) literature. Worth striving for, I think! More about my academic work here. In Paris With You is my first book in verse that I’ve perhaps ever read. I can’t recall anything else. And I’ve definitely never read anything like it at all. The other thing I do is write books – children’s books, surprisingly enough. In fact, it’s not ‘the other thing’. It’s the first thing I ever did, really – long before I heard that you could actually analyse books for a living, I wanted to write books for a living. So I started writing, and ultimately getting published – in French first, and now in English as well. My first series of children’s books in English, led by self-made superheroine Sesame Seade, is being published in 2013 by Hodder Children’s Books! This story was told in verse, it took a wild to get used to the style, but once I did I was completely entranced... The book was also translated from French, I can only imagine how difficult it was to translate such a stylized book, so major props to the translator! As much as I enjoyed this story, I do recognize that the style is not for everybody.... but told in verse or not this was a lovely love story set in the city of love, Paris...